The R-121 is our flagship microphone and the worlds first radically redesigned ribbon microphone. We did away with the large, heavy, fragile, “classic” approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warm, natural tonal response that top engineers have always loved ribbon mics for, but in a compact, light-weight, higher output, tough-as-nails package that was unheard of in a ribbon mic before the R-121.
Like many of the best loved classic ribbon mics, the R-121 has a figure-8 pattern, sensitivity in the dynamic mic range, and a warm, realistic tone and flat frequency response. But that’s where the similarities end. By using advanced materials and a blend of cutting edge and old-school hand-build construction techniques, the R-121 is a far more versatile and user-friendly ribbon mic that can stand up to the most demanding tasks, including live stage use. It’s built solid enough for us to give it a lifetime warranty. The R-121 redefined ribbon microphones so thoroughly that Recording Magazine wrote "…the Royer R-121 is destined to become one of the classic microphones of the 21st century".

Patented Offset Ribbon Technology

The R-121’s proprietary offset ribbon transducer (Patent Number: 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It’s an intrigue piece of the magic of all Royer R-series microphones.

Recording With The R-121

Tonally, an R-121 hears things the way your ears hear them. Most microphones add their own characteristics to your recordings; some have a hyped high and low end response with scooped out mids, some are super sizzly in the highs, some accent midrange and give very little upper and lower end frequency response, some respond to nothing but low end. They all serve a purpose and have their place in recording and live work. But if you've ever heard something brilliant - an unbelievable electric guitar, an inspiring trumpet, a sweet flute, an amazing kit - and found that getting that sound to tape or hard drive was impossible, you owe it to yourself to try a Royer ribbon. The R-121's response is flat and well balanced; low end is deep and full without being boomy, mids are well defined and realistic, and the high end response is sweet and natural sounding, never edgy or sibilant.

On playback you'll find the sound is natural and alive, with a panoramic, ambient feel much like what you heard when you were standing in the room with the instruments(s) you were recording.

Recording LOUD!

Need to record at insane levels? No problem! The R-121's maximum SPL rating is 135dB at 20 Hz and it can handle that for years. In practical terms, that means you can put your R-121 directly in front of a souped up 100-watt Marshall and open it up without microphone distortion or damage to the ribbon. We don't recommend trying this with other ribbon mics, but the R-121 was built to take it.

Two Mics In One

At distances of three feet and closer, the back of the R-121 records slightly brighter than the front side. This can be extremely useful when recording acoustic guitars, vocals, and other sound sources that you may need a slightly brighter response on.

2 Mics In One - Recording on the Back Side of the R-121 and R-122

Features

High SPL Capabilities
No internal active electronics to overload or produce distortion up to maximum SPL rating
Extremely low residual noise
Ribbon element is not affected by heat or humidity
Absence of high frequency phase distortion
Equal sensitivity from front or back of element
Consistent frequency response regardless of distance

Recommended Applications

Electric Guitar Amps
Drum Overheads
Percussion Instruments
Brass and Woodwinds
Horn Sections
Acoustic Piano
Acoustic Guitar
Harp
Solo Strings
String Sections
Choirs and Orchestras
Commercial Broadcast
Voice Over

Technical Specifications

Acoustic Operating Principle: Electrodynamic pressure gradient
Polar Pattern: Figure-8
Generating Element: 2.5-micron aluminum ribbon
Magnets: Rare Earth Neodymium
Frequency Response: 30 -15,000 Hz +/- 3dB
Sensitivity: -50 dBv Re. 1v/pa
Output Impedance: 300 Ohms @ 1K (nominal)
Rated Load Impedance: >1500 Ohms @ 300 Ohms
Maximum SPL: >135dB @ 20 Hz
Output Connector: Male XLR 3 pin (Pin 2 Hot)
Dimensions: 58mm L, 25mm W (6.13" L, 1" W)
Weight: 244g (8.6 oz)
Finish: Dull Satin Nickel/Matte Black Chrome optional

Introducing the ACTIVE RIBBON™ SERIES

The R-122 is the world’s first phantom powered, active ribbon™ microphone. Yes, you need to turn phantom power on when you use an R-122! The payback is far more output than you’ve ever imagined from a ribbon microphone. More importantly, the R-122’s electronics place a perfect impedance load on the ribbon element, greatly expanding the number of preamps that will match up well with the R-122.
Before the R-122, all ribbon microphones were passive devices, meaning that they were 15 to 30 dB less sensitive than average phantom powered condenser mics. In addition, passive ribbon mics depend entirely on the input impedance of the preamp they’re mated with to set the proper impedance to the ribbon element. Simply put, even the best ribbon mics can sound mediocre if they’re plugged into the wrong mic pre. With the R-122, gain and impedance issues are a thing of the past.

Gain

Conventional ribbon microphones need high-quality, high-gain microphone preamplifiers to record softer sound sources like acoustic instruments, vocals and room ambience. The R-122 is as sensitive as a condenser microphone, allowing you to use practically any mic preamplifier or board record even the quietest sounds. The R-122 contains a fully balanced, discrete head amplifier system utilizing a specially wound toroidal transformer and ultra-low noise FET’s. This system is extremely quiet, can handle 135 dB SPL, and brings the R-122’s output to –38 dB! Go ahead and plug an R-122 into any preamplifier with average gain - you’ll get full Royer performance and you’ll have enough level to drive any recording medium.

The R-122’s higher sensitivity does not create additional self-noise. All of the R-122’s increased level comes from its large, specially wound toroidal transformer - that wonderful thing called “free gain.” The level at the transformer is actually hotter than the level at the output of the microphone. The phantom powered circuitry provides impedance conversion only, adding no noise of its own. This system took years to perfect and is currently in patent pending status.

Impedance Matching

The R-122’s active electronics provide a perfect load to the ribbon element at all times, allowing the R-122 to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, R-122s can be used on extremely long cable runs with minimal signal loss.
A good impedance match is critical to getting the most from a ribbon microphone. An impedance mis-match will load the ribbon improperly, resulting in loss of low end, diminished body, lowered sensitivity and overall compromised performance. The R-122’s ribbon element lives in a perfect world - it sees the optimal impedance at all times regardless of the following equipment, so its performance is never compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables.

Patented Offset Ribbon Technology

The R-122’s proprietary offset ribbon transducer (Patent Number: 6,434,252) positions the ribbon element closer to the front (logo) side of the microphone than the rear. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It’s an intrigle piece of the magic of all Royer R-series microphones.

Recording With the R-122

The R-122 is every bit as tough as our road-worthy R-121 and it can be used on high SPL applications with equally good results. It is a first-call mic for electric and acoustic guitars, drum overheads, brass, percussion, electric and acoustic bass, piano, strings, woodwinds, Foley, and many other applications.

Does the R-122 sound any different than the R-121? Due to the similarities between the two mics, it’s a good question. The mics have a similar look, they both share the same offset-ribbon transducer and large ribbon, and apart from the R-122’s increased sensitivity, their specs are the same. So do they sound any different? The answer is yes, depending on what you’re recording.

Sonically, the R-122 has a slightly tighter and more focused low-end response and its transient response is faster than the R-121's, giving the perception of a more open top-end. These differences are functions of the R-122's large toroidal transformer (versus the R-121's more traditional IE core transformer).

Between the two mics, we have found that people tend to prefer R-122’s on drum overheads, acoustic instruments and vocals. With electric guitars and brass it’s a toss up, with some preferring the R-122’s tighter low-end and more open top-end response and others preferring the straight ahead R-121 response. Our opinion is that if you’re recording mostly electric guitars and/or brass, the R-121 is the way to go. The R-122 is just as good on these instruments, but you may not need (or want) the additional top-end openness and you certainly won’t need the R-122s higher sensitivity with these high SPL applications. If you plan on using the mics for drum overheads, vocals, piano, acoustic instruments or very quiet sound sources, we highly recommend you choose the R-122.

Note: The R-122 puts out a lot of level when used to record very loud electric guitars. To keep from overdriving the front end of your mic pre, we recommend the use of a Shure or Neutrik 10dB in-line pad.

Two Mics In One

At distances of three feet and closer, the back of the R-122 records slightly brighter than the front side. This can be extremely useful when recording acoustic guitars, vocals, and other sound sources that you may need a slightly brighter response on.

Two Mics In One - Recording on the Back Side of the R-121 and R-122

Features

Phantom powered circuitry provides high output and impedance matching
High SPL Capabilities
No distortion up to maximum SPL rating
Extremely low residual noise
Ribbon element is not affected by heat or humidity
Absence of high frequency phase distortion
Equal sensitivity from front or back of element
Consistent frequency response regardless of distance
Rear side of mic records slightly brighter when three feet or closer to sound source

Recommended Applications

Electric Guitar Amps
Acoustic Guitar
Drum Overheads
Percussion Instruments
Brass and Woodwinds
Horn Sections
Acoustic Piano,
Acoustic Guitar
Harp
Solo Strings & String Sections
Choirs and Orchestras
Commercial Broadcast
Voice Over

Technical Specifications

Acoustic Operating Principle: Electrodynamic pressure gradient with active electronics
Polar Pattern: Figure-8
Generating Element: 2.5-micron aluminum ribbon
Magnets: Rare Earth Neodymium
Frequency Response: 30 -15,000 Hz +/- 3dB
Sensitivity: -37 dB (referenced 1v/pa ±1dB)
Self-Noise: < 20 dB
Output Impedance: 200 Ohms, balanced
Rated Load Impedance: 1K-Ohm
Maximum SPL: >135dB
Output Connector: Male XLR 3 pin (Pin 2 Hot).
Dimensions: 206mm L X 25mm W (8 1/8” L X 1” W)
Weight: 309 grams (10.9 oz)
Finish: Dull Satin Nickel/Matte Black Chrome optional.

Introducing the worlds first vacuum tube ribbon microphone

The R-122V was originally developed in 2001 as a benchmark to test our R-122 designs against. Over four years of additional development, the unique R-122V has evolved into a world class ribbon microphone with unparalleled richness, depth and detail, especially in the midrange frequencies. R-122V recorded tracks reveal a lush-ness that must be heard to be truly appreciated. The R-122V vacuum tube ribbon microphone offers the ultimate in ribbon microphone performance for those who insist on the very best.

The R-122V takes the Royer-pioneered concept of active ribbon microphone technology to an unprecedented level by incorporating vacuum tube electronics into the same proven transducer system used in the venerable R-121 and R-122 ribbon microphones. The high operating voltage of the vacuum tube provides a headroom capability far beyond that capable from a standard phantom power supply. In real-world use, this translates into unmatched clarity, detail and airiness.

The Electronics

The R-122V’s head amplifier consists of a low-noise, triode-connected military grade 5840 vacuum tube. Designed for a wide range of applications, the R-122V offers superb transient response and the drive capabilities only a vacuum tube head amplifier can provide. The circuit is devoid of typical vacuum tube coloration.

The R-122V’s triode-configured cathode follower circuitry enables the microphone to drive long cable runs without sonic degradation or high-frequency loss. This capability is further enhanced by the R-122V's dedicated power supply that provides ample current to the vacuum tube electronics. Induced noise is virtually eliminated by the microphone's fully balanced output that is electrically isolated with a special purpose Jensen output transformer.

Like our phantom powered R-122, the R-122V has far more level than non-powered ribbon microphones and its impedance matching circuitry places a perfect load on the ribbon element at all times. This allows the use of a wide variety of mic preamps without concern for gain and impedance matches, two critical issues with ribbon microphones. All of the R122V's increased output comes from its large, specially designed toroidal transformer, so there is no additional noise associated with the microphone's higher output.

Like all Royer products, the R-122V comes with a lifetime warranty to the original owner (the tube warranty is 10 years).

Features

Vacuum tube electronics provide high output capability, optimal impedance to the ribbon element and low output impedance
Extremely low self-noise
Operates from a dedicated power supply
High SPL capabilities for electric guitar and percussion instruments
Absence of high-frequency peaks, "ringing" and phase shifts
Ribbon element unaffected by impedance/load, heat or humidity
Very low magnetic leakage
Equal sensitivity from front or back of element
Consistent frequency response regardless of distance
Rear side of mic records slightly brighter when three feet or closer to sound source

Recommended Applications

Close and distant miking
Strings - solo & sections
Acoustic piano, harp, etc.
Electric and acoustic guitar
Vocals, commercial broadcast, voice over
Brass, horn sections
Drum overheads, room miking
Percussion instruments
Live events-recording and sound reinforcement

Technical Specifications

Acoustic Operating Principle: Electrodynamic pressure gradient with vacuum tube
electronics.
Vacuum Tube: JAN mil-spec 5840W pentode wired in triode
configuration
Polar Pattern: Figure-8
Generating Element: 2.5-micron aluminum ribbon
Magnets: Rare Earth Neodymium
Frequency Response: 30 -15,000 Hz +/- 3dB
Sensitivity: -36 dB (re. 1v/pa +/- 1 dB)
Self-Noise: < 18 dB
Output Impedance: 200 Ohms, balanced
Rated Load Impedance: 1 K-Ohm
Maximum SPL: >135dB SPL @ 20 Hz
Power Requirements: Plate supply: 135 VDC @2ma, Filament supply: 6 VDC@ 150ma from dedicated power supply.
Dimensions: 206mm L, 25mm W (8 1/8 " L, 1" W).
Weight: 300g (10.9 oz )
Finish: Dull Satin Nickel/Matte Black Chrome optional

The SF-12 stereo coincident ribbon microphone combines high quality audio performance with outstanding stereo separation and imaging. It is a modern ribbon design with no audible diffraction effects or cavity resonance. An SF-12 is actually two matched ribbon microphones placed one above the other; each aimed 45 degrees from center in the classic Blumlein configuration. The frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.

The SF-12 utilizes two 1.8-micron ribbons, each weighing approximately 1/3 milligram and producing superb transient response. The two ribbon transducers are magnet/pole piece structures that produce a wide, uniform frequency response with no substantial peaks or dips. The case is ingot iron and forms part of the magnetic return circuit, an effective system with low leakage flux which accounts for the relatively high sensitivity in a trim package. The SF-12's extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled "Upper" and "Lower," for the upper and lower capsules of the microphone (when held vertically).

Recording with the SF-12

The SF-12 is uncanny for creating ‘you-are-there’ stereo recordings that capture not only the instrument being recorded, but, depending on positioning, the acoustic environment as well.. If you pay careful attention to the sound of an instrument or ensemble in the recording environment, you will likely find a place where it sounds best to you. Position the SF-12 in that place and you will capture that sound.

A beautiful example can be found in the Orchestra section of the Royer Demonstration CD. An engineer used one well-positioned SF-12 to create a stunning recording of the Ukrainian Radio Television Orchestra. (Initially, the conductor was not happy with the engineer’s desire to record with one microphone, but after hearing the results, the engineer has been invited back to record the orchestra a number of times, with the same one microphone, his SF-12.)

The SF-12 is an excellent choice for drum overheads, where its stereo imaging and realism help to create powerful, dynamic drum tracks. In a jazz setting, recording the kit flat provides extremely natural sounding cymbals, tom-toms and snares. In rock and pop recordings where you’d like to capture the meat of the kit but with more air on the cymbals to help them cut more aggressively, simply open the top end up with EQ. Ribbons take EQ extremely well because they generate virtually no self distortion. When you boost a frequency, even by many dB, you’ll bring up only the musical response you’re looking for without unpleasant distortion artifacts joining the party.

Recording in Mono

Phase compatibility between the two sides of the SF-12 is excellent, allowing you to combine the two channels for mono recording without creating phase artifacts. This is particularly useful when capturing a wide sound field in mono; for instance, a singer who tends to move off the ‘sweet spot’ of a mono microphone. Either side of the SF-24 can also be used individually as a mono microphone.

Features

True stereophonic (Blumlein and M-S) recording from one microphone.
High SPL capabilities.
No internal active electronics to overload or produce distortion up to maximum SPL rating.
Extremely low residual noise.
Ribbon element not affected by heat or humidity.
Absence of high frequency phase distortion.
Equal sensitivity from front or back of elements.
Consistent frequency response regardless of distance.
High efficiency, matching toroidal transformers.
Very low magnetic leakage.

Recommended Applications

Drum Overheads
Percussion Instruments
Brass –and Woodwinds
Horn Sections
Acoustic Piano
Harp
Choirs,
Solo Strings
String Sections
Orchestra
Acoustic & Electric Guitars
Background Vocals
Ambiance
Stereo to Mono

Technical Specifications

Acoustic Operating Principle: Electrodynamic pressure gradient
Polar Pattern: Symmetrical figure-8
Generating Element: 1.8-micron aluminum ribbon
Frequency Response: 30-15,000 Hz ± 3dB
Sensitivity: > -52 dBv Re. 1v/pa
Output Impedance: 300 Ohms @ 1K (nominal)
Rated Load Impedance: >1500 Ohms @ 300 nominal impedance
Maximum SPL: >130dB
Output Connector: Male XLR 5 pin (stereo*)
Dimensions: 206 mm L X 25 mm W (8" L X 1" W)
Weight: 369 Grams (13 Oz)
Finish: Matte Black Chrome, Dull Satin Nickel (optional)

The SF-24 stereo ribbon microphone is a phantom powered version of our popular SF-12 stereo ribbon microphone. It combines the SF-12’s high quality audio performance, outstanding stereo separation and imaging with our exclusive active electronics system for ribbon microphones. The SF-24’s output of -38 dB is a full 14 dB more sensitive than our non-powered SF-12, putting its sensitivity on par with that of phantom powered condenser microphones. The unique electronics and custom designed FET’s used in the SF-24 allow for ultra-quiet operation, with self-noise of lower than 18 dB.

Like an SF-12, the SF-24 is actually two matched ribbon microphones placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.

The SF-24's extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled "Upper" and "Lower" for the upper and lower capsules of the microphone (when held vertically).

Gain

Our active ribbon™ mics (SF-24 and R-122) are as sensitive as phantom powered condenser microphones, allowing you to use virtually any mic preamplifier or board pre. Conventional ribbon microphones are 15 to 30 dB less sensitive than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers when recording softer sound sources like acoustic instruments, vocals and room ambiance. The SF-24 contains two fully balanced, discrete head amplifier systems utilizing specially wound toroidal transformers and ultra-low noise FET’s, each delivering a sensitivity of –38 dB. This lets you mate an SF-24 to any preamplifier with average gain characteristics. Even with quiet sound sources, you'll have enough level to drive any recording medium.
It is important to note that the SF-24’s higher sensitivity does not create additional self-noise. All of the SF-24’s increased level comes from its large, specially wound toroidal transformers - that wonderful thing called “free gain.” The level at the each of the transformers is actually hotter than what comes out of the microphone. The phantom powered system operates at less than unity, adding no noise of its own. This system took years to develop and is in patent pending status.

Impedance Matching

The electronics in the SF-24 provide a perfect load to the ribbon elements at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, SF-24’s can also be used on extremely long cable runs with minimal signal loss.
A good impedance match is critical to ribbon microphones. Impedance mis-matching loads a ribbon improperly, resulting in loss of low end, diminished body, lowered sensitivity and an overall compromised performance. With our Active Series ribbon mics, the ribbon element sees a perfect impedance at all times, regardless of the preamp you use, so its performance will never be compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables.

Recording With The SF-24

Like the SF-12, the SF-24 is uncanny for creating ‘you-are-there’ stereo recordings that capture not only the instrument(s) being recorded, but, depending on how the microphone is positioned, varying degrees of the acoustical space. In addition, the increased sensitivity and impedance matching circuitry allows for more consistent results in a variety of recording situations and with a wider selection of mic pre’s.

For mono recording, phase compatibility between the two sides of the SF-24 is excellent. This allows you to combine the two channels perfectly in mono without creating undesirable phase artifacts. This is particularly useful when capturing a wide sound field in mono; for instance, a singer who tends to move off the ‘sweet spot’ of a mono microphone. Either side of the SF-24 can also be used individually as a mono microphone.

The SF-24 excels on classical piano, drum overheads, ensemble and orchestral recordings, a wide variety of percussion instruments, virtually all acoustic instruments, small vocal ensembles, large choirs, etc.

Features

Phantom powered circuitry provides high output and impedance matching
True stereophonic (Blumlein and M-S) recording from one microphone
High SPL capabilities
No distortion up to maximum SPL rating
Extremely low residual noise
Ribbon elements are not affected by heat or humidity
Absence of high frequency phase distortion
Equal sensitivity from front or back of elements
Consistent frequency response regardless of distance
High efficiency, matching toroidal transformers
Very low magnetic leakage

Recommended Applications

Drum Overheads
Percussion Instruments
Brass and Woodwinds
Acoustic Piano
Harp
Choirs
Solo Strings
String Sections
Orchestra
Acoustic & Electric Guitars
Vocal Groups (MP3 example)
Ambiance
Stereo to Mono

Technical Specifications

Acoustic Operating Principle: Electrodynamic pressure gradient with active electronics
Polar Pattern: Crossed figure-8’s
Generating Element: 1.8-micron aluminum ribbon
Frequency Response: 40-15,000 Hz ± 2dB
Sensitivity: -38 dB (re. 1v/pa ±1dB)
Self-Noise: < 18 dB
Output Impedance: 200 Ohms
Rated Load Impedance: 1K-Ohm
Maximum SPL: >130dB
Output Connector: Male XLR 5 pin (stereo*)
Power Requirements: 48-Volt Phantom Only
Supply Current: 4 mA per channel
Dimensions: 270mm X 39mm (base) X 25mm (top) (10 5/8” X 1.5” X 1”)
Weight: 583 grams (20.5 oz)
Finish: Optical Black, 18K Gold (optional)